APPROACH, SKILLS & TECHNIQUES

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The core of the developing actor’s process as rooted in enduring acting principles supported by both established and emerging approaches and techniques forms the basis of the training.

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Teaching operates within the context of an inclusive global theatre and performance perspective. The training is built on a fully embodied and investigative approach to acting and performance strongly rooted in and in dialogue with the research and principles pioneered by Konstantin Stanislaviski and extended through the work of Russian & European reformers including Vsevolod Meyerhold, Yevgeny Vakhtangov, Nikolai Demidov, Jerzy Grotowski, Michael Chekhov, Maria Knebel and Eugenio Barba. 

 

Work with text-based psychological realism and screen acting integrates processes and techniques from American and British Post­-Stanislavskian methodologies and interpreters such as Lee Strasberg, Robert Cohen, Practical Aesthetics (David Mamet), Uta Hagen, Stella Adler, Sandford Meisner, Brigid Panet, Doreen Cannon and Mike Alfreds.  

 

Work on classical performance and heightened text employs techniques from the teachings of Cicily Berry, Patsy Rodenberg, Kristin Linklater, John Barton, Declan Donnellan and Peter Hall among others.

 

Approaches to physical theatre, collaborative & devised theatre, and ensemble performance draw on principles and practices grounded in the European tradition and genealogy of Jacques Copeau and his followers including Suzanne Bing, Michel Saint-Denis, Jacques Lecoq, Eteinne Decroux and Monika Pagneux. 

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The work also draws influence from the field of Eastern Martial, Yoga & Theatre Arts. Woven throughout the pedagogy is extensive experience and research in body-mind practices, mindfulness and wellbeing.

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